Das Fluff – Flower With Knife

When checking out a mere week or two ago the band’s latest single, Far Gone, we suggested the forthcoming new album from Das Fluff “should be very highly anticipated”, as too for newcomers the source of the single, their current and third full-length which recently had its vinyl release. At the time it was still an unrealised pleasure for us but now having heard and devoured Flower With Knife, we can say that intrigue and hunger is now greedily lying in wait for that new album currently being created.

Das Fluff is the brainchild and creative vehicle of Berlin/London-based vocalist/writer/producer Dawn Lintern. The project’s first two albums, in 2011 debut Would You Die for Me? and Meditation And Violence two years later potently built the reputation for highly danceable and inventively dramatic propositions with songs never accepting the predictable. Fair to say though it was Flower With Knife which saw Lintern’s writing and sound blossom into an invigorating trespass infesting body and imagination like a lustful virus. Linking up with guitarist Steve May, and the electronic experimentation of Christian Ruland, Lintern brought the richest drama and deepest tapestry of sound to the Das Fluff psyche; the result a release which plays like an aural psychological movie whilst grabbing the listener like a puppet forcing feet and hips to indulge.

Flower With Knife opens up with Popstar User, a track featuring a different guest guitarist as too upcoming album songs in Nothing and Pleasure, which prowls ears with seductive menace as Lintern vocally pouts and entices. The throbbing bassy electronics similarly tempt as synths simmer and flame as the guitar spins its own inviting web. It all colludes in a riveting slice of electronic rock providing the perfect doorway into the following shadow clad, noir lit, and creatively mercurial adventures.

The furtive gothic/post punk walk of Fuck The Trees swiftly has its grips on attention and thoughts next, Lintern purveying the raping of beauty by the intent of modern thought and deed. The pulse of the song is accusation, its gait almost predatory before Someone I Adore outdoes both the first pair of tracks with its striking electro punk saunter. Again there is menace in the air, an Au Pairs meets Siouxsie and the Banshees scent tempering yet equally adding to that confrontation within the senses arousing treat.

In turn it is then eclipsed by Pleasure with its gorgeous Slits meets again Au Pairs like dub lit temptation. Within moments the hips of song and listener are swaying in unison, thought locked up in the provocative turns of voice and word as music infuses its own inventive dance into ears and appetite. More than living up to its name, the track is the pinnacle of the album’s theatre but closely matched around it and indeed by that recent single Far Gone. Almost unnerving in its psychosis fuelled canter, bass tones and scything key bred strings cinematically Hitchcock like, it is the driving rhythms and intensity of the song which brings it all gloriously together for another mighty incitement.

Through the mellower but just as dark and rapacious Enemy, a song tempering its threat with open reflection and emotion, and the hauntingly enchanting jazz kissed beauty of The Stars, the album’s adventure evolves and turns down new avenues again. As the tracks before them, each is a new adventure to sink into, all connected by shadow clad risk and perilous influences. Both songs beguile with the second especially bewitching, while the grittier growl of Love and Peace snarls and intensely throbs like a predacious temptress bred from the thickest tempest.

Throughout Lintern’s voice magnetises as it reveals an array of depths and expressions, her bold and magnetic tones seeded in the similarly adventurous writing at the heart of songs and the trio’s creative imagination as epitomised in the heavier rock of Nothing, a track embracing a host of styles to its melodic and electronic bosom. It simmers and boils with energy and emotion second by second, Lintern the vocal ringmaster within shaping song and thoughts breath by syllable.

The album concludes with the electronic asylum of Strip Down, a proposal which harries thoughts with dark flirtations and sinister airs as pulses and melodies suggestively invade and swim the senses. The track is pure drama, an irresistible fire of emotion and intensity borne of daring imagination…and that pretty much sums up Flower With Knife as a whole; a release which stretches the listener as much as itself as a kind of psychosis hugs its heart. Most of all, it is a release which has the body bouncing and pleasure brimming…roll on the next album.

Flower With Knife is out now and available through the Das Fluff website @ http://www.dasfluff.com

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Pete RingMaster 23/09/2017

Copyright RingMaster: MyFreeCopyright

Sweet Gum Tree – The Gift

To reinforce the already successful release and temptation of latest album Sustain The Illusion, French project Sweet Gum Tree have another magnetic slice of melodic seduction poised in the shape of new single The Gift. We first became captivated by Sweet Gum Tree through debut album The Snakes You Charm & The Wolves You Tame three years ago and the latest offering and other tracks heard since then shows that the qualities and potential of that impressive introduction have grown and blossomed.

Sweet Gum Tree is the creation and solo project of songwriter/multi-instrumentalist Arno Sojo, a musician who has been part of various rock and electro bands over the past fifteen years including another of his creations in Sojo Glider. The first album saw Sojo draw on the talent of guests such as Isobel Campbell, Tindersticks drummer Earl Harvin, and Marty Willson-Piper from The Church. With Sustain The Illusion, he has recorded everything on his own with only Irish producer David Odlum who also worked on The Snakes You Charm & The Wolves You Tame helping out.

Within its melodic beauty that first album was a heart of melancholic elegance, an enticing blend which is just as ripe within The Gift. Its gentle caress of melody instantly has attention alert, guitars weaving a disarming proposal backed by the emotive tones of Sojo. A catchy air is just as swiftly invasive, luring ears within the low key but vibrant stroll of the song where every passing second seems to welcome a fresh ingredient of enterprise; strings and keys two elements rising up to add colour and depth to the heart sharing proposal.

The Gift is a serenade for the imagination, a shadowed but open kiss for the ear much as many of the tracks within that first album alone but with a new richness in enterprise and songwriting which can only see Sweet Gum Tree become the centre of bigger spotlights. It is not a lone offering within Sustain The Illusion though as songs like Guilt Trip and Twinkle show. The first of the two is a compelling mix of eighties synth pop and post punk nurtured rock playing like a fusion of The The and The Pineapple Thief while the second, again merging electronic minimalism with melodic rock tenacity, simply rouses the senses like a fusion of Slug Comparison, XTC, and Sigur Rós; both outstanding tracks though emerging unique to Sweet Gum Tree.

All songs are must check out proposals with The Gift, for ears, more than living up to its title.

The Gift is available to download from September 15th with Sustain The Illusion out now across most online stores.

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Pete RingMaster 12/09/2017

Copyright RingMaster: MyFreeCopyright

Folie – Sorrow

Some songs make a swift persuasion, others creep up on you for similar success, and there are those which seize attention with a virulence which almost takes the breath away. Sorrow, the new single from Folie, inescapably belongs to the latter. It is a slice of imposingly danceable pop embracing an array of styles and flavours yet belonging to none tagging wise which has the body bouncing and spirit bounding within the  touch of its first bubbly beat and melodic shimmer.

Florida hailing, Folie is a collective of dedicated producers, performers, songwriters, and musicians uniting their own “unique approach to their artistry”. Earlier this year, the band released a well-received debut EP in the shape of Gorgeous, a release just as Sorrow which is taken from it, weaving a tapestry of pop, indie, electronic, hip hop, dance and a host of other ear grabbing flavours.

The single instantly whets the appetite with its fleet footed bass pulsing and crispy percussion, keys and guitar soon adding their colourful strokes to the blossoming encounter. Vocals bring a Libertines meets punk spicing to the growing mix whilst the funky animation of the song offers a dance/alternative rock enterprise with a touch of the Tom Tom Club to its swing.

It is a captivating web of sound and styles which only seems to increase its hold as frantic energies increase and infest the imagination. The fade out is annoying but that is the only thing, just down to personal tastes, to offer up as a ‘temper’ to a lustful recommendation of a track ensuring a lively summer is far from over.

The Gorgeous EP is available now @ https://folie1.bandcamp.com/album/gorgeous

https://www.facebook.com/Officialfoliee

Pete RingMaster 12/09/2017

Copyright RingMaster: MyFreeCopyright

Andreas S Jensen – Disturbed

To this point in time, Danish born, London based Andreas S Jensen has made a notable name for himself for being a guitarist in Dub Pistols, as a writer/producer whose co-writes with the likes of Kevin Lyttle, Armand Van Helden, and Nate James have sold close to a million copies, and in collaborations as remixer, producer, session player, and engineer with artists such as Dido, Rizzle Kicks, Vybz Kartel, Sam And The Womp, Beenie Man, Nerina Pallot and more. This month though sees the singer songwriter/musician make his own individual impact, expectantly what will be his biggest one yet, with the release of a debut solo album. Disturbed is an ear pleasing, imagination stroking collection of songs combining lyrical intimacy with an alluringly broad brushstroke of sound. It is a release which makes the most seductive company note to ear and then haunts the memory once departed; that in anyone’s book the sign of something special.

Jensen has already enticed praise carrying attention with his first EP Disconnected which was released at the beginning of 2014. Embracing inspirations ranging from David Bowie, Tom Petty, and Elliot Smith to Soundgarden and The Zombies, the encounter was the first step towards the lofty heights now awaiting the senses within Disturbed. For the album Jensen drew on the talent of a group of London session players he has met through his producer and session work including drummer Adam Falkner (Babyshambles/Dido), guitarist Garo Nahoulakian (Nadine Shah), cellist Ben Trigg (Arctic Monkeys, Unkle, Jamie Collum), and Antonia Pagulatos (Gorillaz, Blur) on violin and viola as well as Jesper Lind (Jack Savoretti), Nikolai Bjerre (Lamb), Jack Cowens (Dub Pistols/Bondax) and many others. The result of this union of craft and invention is a record as rampantly catchy as it is emotionally open; each song like a big brother knowingly understanding those moments in life, love, and longing we have all hugged or endured.

Disturbed opens with its new single released a week before the album and fair to say Only Die Once instantly has attention gripped. Jensen’s voice is the first enticement, his warm slightly sandy tones soon joined by a theatre of rhythms and keys as a guitar weaves its own suggestive bait. There is drama in piano and bass too whilst instinctive infectiousness fuels vocals and the melodic coaxing hooking the senses whether in a controlled smoulder or a fiery blaze. As a sign of things to come across the album, the track simply blossoms and grows with every passing second; a crowd of instruments and sounds uniting in a fanfare of imagination and enterprise.

The outstanding start is matched by next up Trust Is My Anchor, a single released earlier this year which had us on board with real anticipation right then for what Disturbed would subsequently bring. Like the first, the song makes a gentle start, acoustic guitar aligning with Jensen’s ever appealing voice and like its predecessor a proposal which just opens up its sound and invention with every breath. Soon it roars with a robust rock pop temptation which sublimely ebbs and flows in intensity whilst increasing its hold on ears and appetite second by second. There is something of Billy Momo to the subdued moments of the track and a hint of R.E.M. in its bolder expulsions; both deliveries as compelling as the other as another pinnacle within the album is exposed.

Take My Heart and Go needs barely a breath to seize ears as a glorious gnarly tendril of sound winds around the senses, a flirtatious bassline and the caress of acoustic magnetism swiftly stepping up alongside. Mixing country flavoured rock and eagerly strolling indie pop, the track has the body bouncing and hips swaying in no time with the imagination employed by word and another rich tapestry of textures and invention. For personal tastes it is probably fair to say that the track just misses the heights of the pair before it but the pleasure loaded grin our faces during its presence each and every time reveals all and alone why with every listen Disturbed  becomes more essential.

Through the electric shimmer of Another Way Of Leaving, a proposition merging sixties psych and eighties pop in its tantalising soulful croon, and the Baroque kissed Unchanged captivation is intense and greedy. The second of the two especially bewitches with its shadowy reflection and perpetually rising crescendo of sound and endeavour, the strings which magnetically colour most tracks voraciously manipulative and rousing before And She’s There calms things a touch with its vibrant canter. It too is a tenaciously catchy enticement all the same though which imagining The Everlys and Walker Brothers born as one and breaking out today gives a sense of this superb slice of contagious pop.

Thought gets the focus over body with the balladry of next up Looking Back For Something New, though it is hard not to sway to its melancholy lined tone and melodically intimate presence, while Run with at first a similar gait brews a contagion which has body and spirit rocking as again eighties funk/pop collude with electronic and creative drama. Both of the songs have a firm hand on ears and lustful attention though each is eclipsed by the bold exploits of Dangerzone, a theatre of rock pop which surely has to be the next single. Some tracks make you greedy for more, this is one for Jensen though one among quite a few to be honest but the show stealer of Disturbed for these ears.

The album concludes with I Carry My Cross, a beguiling dark folk/ country spectacle weaving in strands of gypsy, carnival and Latin rock which with its hypnotic funereal march is reason alone to take a chance on exploring one rousing release.

To be honest as much as we loved the single Trust Is My Anchor a few months back we were maybe expecting Disturbed to just back up its striking presence rather than take things to a whole new level. Boy, were we off the mark, the album a BIG must for all rock, pop, indie fans well everyone who loves boisterously catchy and emotionally honest music.

Disturbed is released September 15th with the single Only Die Once out September 8th.

http://www.andreassjensen.com/    https://www.facebook.com/AndreasJensenMusic    https://twitter.com/andreassjensen

Pete RingMaster 04/09/2017

Copyright RingMaster: MyFreeCopyright

Bad Mary – Glitter Bomb

These past three years has seen a greedily enjoyable annual expulsion of attitude and fun in the shape of a new EP from US rockers Bad Mary. This year’s riot comes in the shape of Glitter Bomb, an upcoming six track stomp of punk ‘n’ roll which knows all the right spots to tease, seduce, and turn into feverish submission.

Straightaway we can announce Glitter Bomb to be the Long Island, New York based quartet’s most infectious and belligerent offering yet embracing an array of styles and creative devilry which just sets the imagination and appetite aflame. Equally it is their most accomplished outing yet basking in another fresh step in maturity in writing and its realisation as well as even bolder adventure. Like the illegitimate offspring of an illicit affair between The Ramones and No Doubt as The Objex share their riotous juices, to simplify the bold confrontation, Bad Mary and Glitter Bomb explode on the senses with unbridled and fiercely enjoyable mischief.

The beginnings of Bad Mary came in 2009 with Hofstra University professor and guitarist David Henderson linking up with students for a covers band; something he regularly did. That year’s line-up included vocalist Amanda Mac and bassist/vocalist Mike Staub. As personnel changed the three remained with the current line-up eventually completed with the addition of Amanda’s father Bill Mac on drums. The quartet then began writing their own songs from 2012 with debut release Better Days drawing swift praise the following year.  The band has simply gone from strength to strength in all ways ever since, an ascent potently marked by their previous two EPs in the 2015 Killing Dinosaurs and last year’s We Could Have Saved the World. Both established the foursome as one of the truly exciting propositions on the pop/punk ‘n’ roll scene, a declaration confirmed and pushed forcibly on by Glitter Bomb.

Recorded with Brian Crowe at Kreischer Mansion Studios, their new release opens up with Motor Mouth needing little time to have the body bouncing and instincts to rock uncaged. Commandingly infectious from the off as riffs and rhythms frame the potent vocal presence and hooks of Amanda, the song is a punk rock bred pop infested persuasion soaked in attitude and rascality. There is nothing majorly remarkable about the track yet every second is instinctive temptation laying the grounds for a lusty adventure continued by next up Still Love Me. The outstanding second song swiftly shows more of the magnetically powerful tones of Amanda, her alluring roar superbly backed by those of Mike as riffs and hooks dance within the early No Doubt/hard rock spiced punk stroll. As its predecessor, the song infests ears and imagination with viral like efficiency, raising the temperature and involvement of the listener by the second while a roving bassline is the icing on the contagious cake.

The EP’s title track brings a riveting surge of raw rock ‘n’ roll which is something akin to Penetration meets Sharkmuffin before Hybrid Moments delves into Misfits like territory with its devious antics. Both tracks leave a grin on the face and lustful energy in the body and passions, the second of the pair especially appealing with the vocal union of Mike and Amanda. Their triumphs are soon more than matched by the hungry punk ‘n’ roll call of Soul Mate, a song oozing with the band’s organic creative attitude and an infectious virulence most bands can only dream of.

The EP concludes with Japan, an irresistible collusion of Ramones inspired riffs and Plastic Letters era Blondie pop contagion twisted with Bad Mary’s own individual devilry for a storming end to the band’s finest moment to date. Glitter Bomb is insatiable pop, irritable punk rock, and ferocious rock ‘n’ roll rolled into a proposal which quite simply is the business.

Glitter Bomb is out September 29th with pre-ordering available now @ https://badmary.com/shop/

https://badmary.com    https://www.facebook.com/badmaryband   https://twitter.com/BadMaryBand

Pete RingMaster 01/09/2017

Copyright RingMaster: MyFreeCopyright

Cardboard HIT – Subject to Status

We all have favourite bands which feel like they have been bred to pleasure personal tastes and desires and now adding to our list is UK trio Cardboard HIT. Creating a tantalising mix of punk, alternative and noise rock, and numerous other rock ‘n’ roll nurtured flavours, the East Sussex based band just creatively teased, tickled, and ravished our sweet spot with debut EP Subject to Status.

Though a brand new proposition for us, thanks to an introduction sent by drummer Matt Rouse, the release has been tempting ears for over a year now but well worth highlighting such its potent presence in an overwhelming landscape of bands and encounters very easy to be lost from sight within. With bassist/vocalist Ross Towner and guitarist/vocalist Lee Hayes alongside Rouse, Cardboard HIT opens up their first EP with the irresistible Bobby. Teasing wiry strikes of guitar get things underway, their post punk scent soon a rapid trespass with great Fire Engines like discord to their tempting. The dual vocal strike of Towner and Hayes is as magnetic as their sounds whilst the probing beats of Rouse manipulate ears and instincts with a controlled but bold touch. Growing into something akin to Eighties B-Line Matchbox Disaster and Japanese Fighting Fish in league with eighties band The Three Johns, the track is superb; manna to an already hungry appetite for more.

Say Yes is the next to feed the need, the thick strains of bass and guitar marking out its predecessor enslaving ears again as vocals and a melodic dexterity brings a calmer if still dramatically tenacious enticement. More dance friendly for feet and hips, the song swings with a bullish attitude and infectious boisterousness as again distinctive vocals rouse a similar energy in the music around them.

The grumbling tone of the bass is a delicious ingredient and once again ignites the first breath and subsequent stroll of the band’s latest single All the Voices. Its grumble is tempered by the dexterity of the two prong vocal lure, beats a swiping incitement alongside the calmest texture as the song grows more manic and wicked with every passing second.

That mellower essence is a bolder instinct within closing song Rabbit Hole, though it too has an unpredictable nature and off-kilter instinct which grabs attention and the passions. Showing a whiff of 12 Stone Toddler in its punk ‘n’ pop shuffle, the song has the body bouncing and a hungry want for more in motion in no time; heavy grooves, rapacious rhythms, and a loco invention for the fourth time seducing the senses and spirit.

With Cardboard HIT working on new material as you read, the time feels right for new fans to find the band and be swept away with their punk disco. With a trio of great videos accompanying the EP, Subject to Status is the doorway into an adventure meant to be lustfully devoured.

Subject to Status is available on iTunes, Spotify, and other stores.

https://www.facebook.com/Cardboardhit/    http://cardboardhit.wixsite.com/cardboardhit

Pete RingMaster 15/08/2017

Copyright RingMaster: MyFreeCopyright

Wanza featuring Jhay Endless – Who We Are

Who We Are is the new single from Wanza with Jhay Endless alongside; a pair who are part of Left Wing Movement, a charitable democratic music group which is based in London and founded by Justin Benjamin in 2013. The song is the next in a line of ear pleasing, attention grabbing encounters from within the project, a track with plenty for pop, rap, and R ‘n’ B fans to get a kick from.

Wanza is serial rapper vocalist John Mwanza and Jhay Endless a talented grime rapper born Jonathon Scott; a creative pair which wraps and lyrically colours the captivating hooks of Garrett Raff within their new song. It is a misty blend in some ways to the heart of the song’s creation as you sense there may be more involved but swiftly clear that Who We Are is a magnet for ears.

The melodic prowess of Wanza soon simmers and harmonically roars around keys and lively beats before things settle as Jhay’s effect lined tones add to the blossoming drama. Melodies and harmonies smoulder as grimier textures strike and jab across the landscape of the track but it is the union of the pair’s distinctive and different vocal presence which grabs ears most potently, their enterprise matched by the increasing tension and mellow sighs of the sounds.

All combined, it is a rich enticement which even for ears that do not usually find a ready home in its style and genres provides a perpetual lure which cannot be dismissed but only recommended.

Who We Are is released August 8th.

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Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright